Academic literature on the topic 'Album covers'
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Journal articles on the topic "Album covers"
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SUKMARAGA, AYYUB ANSHARI. "TINJAUAN VISUAL DESAIN KEMASAN DAN SAMPUL ALBUM BAND INDIE MOCCA PADA ALBUM BERFORMAT AUDIO CD." Serat Rupa Journal of Design 1, no. 1 (January 19, 2018): 171. http://dx.doi.org/10.28932/srjd.v1i1.448.
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For five decades, music industry has become profitable business. The big music industries then make innovation with attractive packaging design for cover album. The innovation intended to persuade people to buy the album not just listen to musics by downloaded it, although it can’t reduce music piracy that become giant problems for music industries. One of Indonesian indie band that aware for this activities is Mocca.This research is analyzing an how the visual perception of shape, structure, material, color and elements in Mocca’s CD packaging and album cover’s design, can create visual sensation to people. It is analyze people’s interpretation from the typography in Mocca’s packaging design and cover album. The aim of this research is to identify symbols, sensation, layout, and people’s interpretation from Mocca’s albums. For the result on this research, will compared by the respondents result through semantic’s theory as will be verified using the results of the analysis of rhetoric. The result from this research is shown that use of the visual system in Mocca’s packaging and design album covers can impact the visual sensation and persuade people when they see visual markings on Mocca’s packaging as well as the album covers. Mocca’s CD quality can compete with band from big music companies. This Mocca’s success from their packaging design dan cover albums art could be the example for other band or music industries to gain their value in art, so it will give better product sales. Keywords: cover; indie band; packaging; visual analysis; rhetoric analysis
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Gusans, Ingars. "DESIGN OF LATVIAN METAL MUSIC ALBUM COVERS IN 2019." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 661. http://dx.doi.org/10.17770/sie2020vol5.5054.
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Latvian metal music has a small but stable place on the map of the metal music world. Each year several music albums of this genre are issued in Latvia. With the decrease in demand for physical data storage devices, brochures and well designed back covers are no longer popular; however the only remaining album cover has gained even more importance – the image, photograph, picture that represents the musical material and acts either as a reflection of the content or as an element for attracting attention and is published on the Internet as well as in printed press as a concrete symbol of the album. The research aim is to describe the design of Latvian metal music album covers in 2019 in the visual context of the albums issued in the world. The research was conducted using the comparative method, looking for the local and global, the typical and different in the visualisation of album covers on the basis of not only theoretical literature but also the many years of experience of the author as a musician and a collector of music records. In general, the visual look of album covers issued in Latvia is typical for heavy metal music and fits in with the visual design of metal band albums in the rest of the world. However, there have been attempts to include eye-catching accents using national or pseudo-national elements or colours.
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Park, Joohyang. "A Study on Album Cover as Paratext: Focusing on the Beatles' Album Covers." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 397–409. http://dx.doi.org/10.33645/cnc.2023.10.45.10.397.
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This study focuses on the implicit and metaphorical communication of musical messages on album covers and discusses the ultimate role of album covers: the visual communication of music. For this purpose, first of all, the album cover is examined from the point of view of music and listener's interface, and the function of the album cover as paratext is examined. Album covers have the effect of creating a new experience for the listener, drawing attention to the shared properties of music and image through the image on the cover. In this sense, the album cover acts as a paratextual representation of a text as another text, creating a place for new interpretations to emerge. Based on this, I analyze the changes in the Beatles' musical style reflected in their album covers in relation to their genres and works. Through this study, it is expected that new musical thinking will be established through convergence with visuals, recognizing that album covers, which are visual materials, are also important materials that make up music.
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Rohman, Mohammad Alfan Abdul, Hariyanto Hariyanto, and Abdul Rahman Prasetyo. "Analisis Visual Desain Cover Album Dosa, Kota, dan Kenangan Band Silampukau." JoLLA: Journal of Language, Literature, and Arts 3, no. 5 (May 31, 2023): 667–79. http://dx.doi.org/10.17977/um064v3i52023p667-679.
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Desain memiliki peran penting dalam industri musik, seperti dapat dilihat pada desain cover album. Pada dasarnya, fungsi cover album adalah untuk melindungi piringan hitam, kaset pita, atau compact disc yang ada di dalamnya. Namun, seiring perkembangan zaman, cover album mulai dirancang sedemikian rupa untuk menarik perhatian publik sekaligus menjadi representasi visual dari karya musik yang ada didalamnya. Salah satu grub musik yang menggunakan strategi ter-sebut pada cover album mereka adalah Silampukau. Band ini merupakan salah satu band folk asal Surabaya yang memperoleh perhatian dari penikmat musik Tanah Air melalui album mereka berjudul Dosa, Kota, dan Kenangan yang dirilis pada tahun 2015. Penelitian ini bertujuan untuk menganalisis visual dari cover album Silampukau Dosa, Kota, dan Kenangan. Peneliti mengguna-kan metode deskriptif kualitatif. Data diperoleh melalui wawancara, observasi, serta dokumentasi yang berkaitan dengan gagasan perancangan dan nilai estetika cover album. Hasil penelitian menunjukkan bahwa desain cover album menggunakan prinsip desain unity, rhythm, dominasi, balance, proporsi, simplicity dan clarity. Pembuatan ilustrasi menggunakan teknik cukil, sedang-kan pada elemen tipografinya menggunakan font custom dengan jenis dekoratif untuk logo band dan menggunakan font Kessel 105 untuk judul album. Kata kunci: analisis visual; cover album; Dosa, Kota, dan Kenangan; band Silampukau Visual Design Analysis of Silampukau’s Album Cover Dosa, Kota, dan Kenangan Design has an important role in the music industry, as can be seen in the album cover design. Basically, the function of the album cover is to protect the LPs, cassette tapes, or compact discs that are in it. However, over time, album covers began to be designed in such a way as to attract public attention as well as to become a visual representation of the musical works contained therein. One of the music groups that uses this strategy on their album cover is Silampukau. This band is one of the folk bands from Surabaya that has received the attention of Indonesian music lovers through their album entitled Dosa, Kota, dan Kenangan which was released in 2015. This study aims to analyze the visuals of the cover of Silampukau's album Dosa, Kota, dan Kenangan. Researchers used a quali-tative descriptive method. The data were obtained through interviews, observations, and document-tation related to the design idea and the aesthetic value of the album cover. The results of the study show that the album cover design uses the design principles of unity, rhythm, dominance, balance, proportion, simplicity and clarity. The illustration uses the cukil technique, while the typographical elements use a custom font with a decorative type for the band logo and use the Kessel 105 font for the album title. Keywords: visual analysis; album covers; Dosa, Kota, dan Kenangan; Silampukau band
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Park, Joohyang. "Fusing Album Covers with Music: Focusing on the Beatles' Album 'Sergeant Pepper's Lonely Hearts Club Band'." Korean Society of Culture and Convergence 45, no. 7 (July 31, 2023): 311–23. http://dx.doi.org/10.33645/cnc.2023.07.45.07.311.
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We can have a “musical” experience through an “album cover” that does not contain any musical symbols, does not make any sounds, and is just a photograph, a work of art. Album covers are a new musical realm created by the musical collaboration of artists and musicians. You experience music through the album cover that you encounter first, and the music experienced through sight is now interpreted through sound. The importance of the album cover cannot be overlooked as it acts as a visual hook for the music. This study examines the Beatles' Sgt. Pepper's Lonely Hearts Club Band from two perspectives: the album cover and the music, and discusses how the music is reflected in the album cover. Through the close connection between the music and the album cover, this paper focuses on the importance of the album cover as a work of art and its role in establishing its own domain separate from other arts.
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Putri, Citra Kemala. "The Influence Of Popular Culture On The Visual Music Album Cover." ArtComm : Jurnal Komunikasi dan Desain 3, no. 1 (May 1, 2020): 98–113. http://dx.doi.org/10.37278/artcomm.v3i1.285.
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Mass culture and popular culture is one of the important phenomena that was born after the postmodern era. In a society that lives in the midst of mass culture and popular culture, will grow consumer communities that produce new cultural symbols and activities. This discourse then influenced various aspects, for example, the emergence of popular music and popular art movements which soon became a commodities that was consumed by many youth people. This study discusses the influence of popular culture on the visuals of music album covers which take several album covers of international musicians from different time periods as samples to compare the similarities or friction caused by various art developments as their response toward happening trends. This study uses qualitative method. This study of various visual images was considering the aesthetic idioms of postmodernism, including Pastiche, Parody, Kitsch, Camp and Schizophrenia, as well as the concepts of several art movements, such as Pop Art and Lowbrow Art. The final result of this study reveal that several music albums using the Pop Art and Lowbrow Art style contained postmodern aesthetic idioms. Each album cover can contain one or several aesthetic idioms simultaneously.
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Kaźmierczak, Joanna. "„Kadzidła i miętówki”. Orientalizm a psychodeliczne okładki płytowe w drugiej połowie lat sześćdziesiątych XX wieku." Prace Kulturoznawcze 21, no. 4 (October 30, 2018): 153–68. http://dx.doi.org/10.19195/0860-6668.21.4.9.
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“Incense and peppermints”. Orientalism and psychedelic album covers in the second half of the 1960sThe article focuses on three intertwining subjects: 1 psychedelic culture of the 1960s, 2 orientalism in culture and 3 album cover art. Its most important goal is to support the process of inclusion to the discussion about the orientalist phenomenon in popular music in the 60s the problematics of the design of album covers, which had been rarely taken into consideration in such context up to this day. Secondly, regarding the fact that the narration on the reflection about the album cover art of that decade tends to focus almost entirely on the artworks related to very few musical groups — most importantly The Beatles — another aim of this article is to point to the wider range of artists, who experimented with orientalist motives both in their music and in their professional image. Psychedelia can be seen in such context as an artistic current which produced the most fertile and culturally most significant fusion between orientalism and popular music in the 1960s. As the examples of this process, the album covers of such artists as The Byrds, Curved Air, The Jimi Hendrix Experience, The Moody Blues, The Rolling Stones or The Strawberry Alarm Clock, et al., are being named. The formal and contextual analysis of the presented spectrum of album covers here narrowed down solely to American and British editions rests upon the definition of psychedelic art as an artistic action inspired by the aesthetic components of psychedelic experience, rather than occurring under the direct influence of a psychedelic drug.
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Khoury, Melissa Plourde. "Parody and Contextualization in Lebanese Album Covers." Design Issues 35, no. 2 (March 2019): 60–80. http://dx.doi.org/10.1162/desi_a_00535.
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This article is a textual analysis initiating the examination of twelve album covers in relation to Lebanon. The covers are examined through the trans-contextualization of diverse and eclectic fusions. Such covers create complex narratives echoing band identities while, parody enabled continuum, yet critique detachment. Though the album covers form a commentary related to histories, they do not merely retell histories. Rather, the use of trans-contextualization gives various aspects of designed concepts added layers of meaning in contemporary contexts. The covers create new and autonomous forms through parody relevant to Lebanon and the region. They also provide methodologies for future designers.
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De la Iglesia, Martin. "I'M ALWAYS TOUCHED BY YOUR PRESENCE, DEAR: BLONDIE ALBUM COVERS AND THE CONCEPT OF PRESENCE." Revista Europeia de Estudos Artisticos 4, no. 2 (June 30, 2013): 59–95. http://dx.doi.org/10.37334/eras.v4i2.58.
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Often, works of art are praised for their “presence”. What exactly this term means, however, is less frequently specified. In this article, presence is defined as a trait of an artwork to cause the vague and possibly subconscious feeling in a viewer that a depicted figure is a living being that is really there, although the viewer is aware that this is not actually the case. By means of an extensive literature review, this article provides criteria for the assessment of presence in any work of art. A methodology for applying these criteria is presented, which is put to the test by assessing the degree of presence in the cover art of the New Wave band Blondie's first six albums (1976-1982). The results of this analysis are then compared to two test samples: other New Wave album covers, and Heavy Metal covers
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De la Iglesia, Martin. "I'M ALWAYS TOUCHED BY YOUR PRESENCE, DEAR: BLONDIE ALBUM COVERS AND THE CONCEPT OF PRESENCE." ERAS | European Review of Artistic Studies 4, no. 2 (June 30, 2013): 59–95. http://dx.doi.org/10.37334/eras.v4i2.133.
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Often, works of art are praised for their “presence”. What exactly this term means, however, is less frequently specified. In this article, presence is defined as a trait of an artwork to cause the vague and possibly subconscious feeling in a viewer that a depicted figure is a living being that is really there, although the viewer is aware that this is not actually the case. By means of an extensive literature review, this article provides criteria for the assessment of presence in any work of art. A methodology for applying these criteria is presented, which is put to the test by assessing the degree of presence in the cover art of the New Wave band Blondie's first six albums (1976-1982). The results of this analysis are then compared to two test samples: other New Wave album covers, and Heavy Metal covers.
Dissertations / Theses on the topic "Album covers"
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BARAT, AICHA AGOUMI DE FIGUEIREDO. "ALBUM COVERS: WAYS OF READING THEM." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35282@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
BOLSA NOTA 10
Capas de disco: modos de ler busca chaves de leitura para compreender a relação entre a música e a cultura visual no século XX e início do XXI. Ao deslocar o objeto de uma discoteca, seu espaço tradicional de fruição musical, e trazê-lo para o campo dos estudos culturais, uma infinidade de leituras se apresenta. As capas são uma forma de arte muito particular, analisá-las é fundamental para entender as diversas formas em que seus mecanismos operam. A música é, por sua vez, um instrumento importantíssimo para entender a cultura visual de forma mais ampla. Este trabalho se vale de ferramentas do campo da história da arte e de outros dispositivos analíticos interdisciplinares para explorar as imagens e sua potência. O argumento central da tese defende a ideia de que as capas contribuem para a construção de um sentido musical, enriquecendo o processo estético do fruidor. Os anos 1950 foram essenciais para firmar a capa como elemento primordial para o disco. Foi também a partir dos anos 1950 que artistas plásticos e fotógrafos penetraram no mercado das gravadoras, vendendo seus talentos e experimentando concepções visuais inovadoras em capas. Ou seja: a criatividade de alguns capistas abriu novos caminhos e permitiu explorar novas concepções para as artes de LP. Procura-se, assim, mostrar que as capas foram locus privilegiado e fértil de expressão para diversos fotógrafos e artistas plásticos consagrados se expressarem em escala industrial. Esta tese busca entender a capa para além da simples ilustração e compreendê-la não só como invólucro ou objeto de design, mas principalmente como objeto artístico, tão importante quanto o conteúdo. Estão em foco neste trabalho principalmente dois aspectos que se complementam. Por um lado, analisa-se a capa de disco como campo de experimentação artística, ou seja, um suporte de trabalho para inúmeros artistas plásticos e fotógrafos. Por outro, que não deixa de complementar esse mesmo campo, reflete-se sobre a capa como suporte para o retrato do sujeito, no sentido restrito de portrait, que subentende tecer laços com o gênero pictórico secular.
Album covers: ways of reading them aims to search for keys to interpret the relation between music and visual culture in the XXth century and the beginning of the XXIst. By displacing the object from a discotheque, its usual space of musical fruition, and bringing it to the cultural studies field, an infinity of possibilities come up. Covers are a very particular art form, analyzing them is central to understand the different forms in which their mechanisms operate. Music on the other hand, is a very important instrument to apprehend visual culture in a broader way. This work uses tools from the art history field and other interdisciplinary analytic devices to explore images and their strength. The central argument of this thesis asserts that album covers contribute to the construction of a musical meaning by enriching the esthetic process of the listener. The 1950s were essential to establish the album cover as primary element for the record. It was also in the 50s that visual artists and photographers penetrated the record company markets selling their talents and experimenting innovative visual layouts. In other words: the creativity of some cover artists opened new paths and enabled new conceptions for the album cover artwork. This work seeks to show that album covers were a notorious and fertile place of expression for photographers and visual artists to express themselves in a large scale. This thesis aims to understand the album cover beyond a simple illustration, and to grasp it not just as a packaging or design piece, but mainly as an artistic object, as important as the content itself. This work focuses on two aspects that complement themselves. On one hand, we analyze the record cover as a field of artistic experimentation, that is, a support for many visual artists and photographers to work on. On the other hand, that complements this same field, a reflection is made on the cover as a support for the portrait of the subject, in the restrict sense of the portrait, that aims to establish ties with the secular pictorial genre.
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McGuire, Meghan S. "Covering Music: Tracing the Semiotics of Beatles'Album Covers Through the Cultural Circuit." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1112552888.
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McGuire, Meghan. "Covering music : tracing the semiotics of Beatles album covers through the cultural circuit." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1112552888.
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Nyström, Elin. "Könsstereotyper imusikbranschen : En analys av skivomslag." Thesis, Högskolan Dalarna, Grafisk teknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28102.
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Könsstereotyper är något som finns i alla kulturer och påverkar både män ochkvinnor redan från barnsben. Inte minst musikindustrin kantas avkönsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Menmycket lite tycks vara skrivet om hur artister framställs på sina skivomslag medkönsstereotyper som utgångspunkt.Syftet med föreliggande studie var därför att analysera och jämföra skivomslagför kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, medvikt på vilka könsstereotyper som förekommer. Syftet var även att se om någonförändring har skett med tiden vad gäller utformningen av skivomslag samtundersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer ochgenrer.En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varjeår var för kvinnliga respektive manliga artister.Resultatet visade att en del av de könsstereotyper som är vanliga vidfotograferandet av män och kvinnor även förekom på skivomslag. Men på endel punkter frångick omslagen traditionella könsstereotyper. Resultatet visadeäven att förekomsten av stereotyper har förändrats en del under tioårsperioden.En del skillnader kunde också identifieras vid en jämförelse av amerikanska ochsvenska artister, samt vid en jämförelse av olika genrer.Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnaderi hur manliga och kvinnliga artister porträtteras på sina skivomslag. Menskivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andrasammanhang när män och kvinnor fotograferas.Gender stereotypes exists in all cultures and affects both men and women froman early age. The music industry is not an exception and stereotypes can be seenand heard in everything from lyrics to music videos. However, very little seemsto be written about gender stereotypes on album covers.Therefore, the purpose of this study was to analyze and compare how albumcovers for female and male artists differ, with focus on gender stereotypes. Thepurpose was also to examine whether a change over time have occurred when itcomes to gender stereotypes present on album covers. Additionally, this studyexamined how gender stereotypes takes form in different cultures and genres.A visual analyze were made on 100 album covers. Half of them were releasedin 2006/2007 and the other half was released in 2016/2017. The number of maleand female artist were equally divided across the different years.The result showed that some of the gender stereotypes that normally occurwhen males and females are photographed, also occurred on album covers.Other gender stereotypes were uncommon on album covers. Some changescould be seen over the ten-year period. Moreover, the result showed somedifferences when comparing Swedish and American artists’ album covers, andwhen comparing different genres.The conclusions that could be drawn from the result was that there aredifferences in how male and female artists are portrayed on their album covers.However, album cover pictures differ to a certain extent from how males andfemales are photographed in other situations.
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Nyström, Elin. "Könsstereotyper i musikbranschen: En analys av skivomslag." Thesis, Högskolan Dalarna, Grafisk teknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28500.
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Könsstereotyper är något som finns i alla kulturer och påverkar både män och kvinnor redan från barnsben. Inte minst musikindustrin kantas av könsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Men mycket lite tycks vara skrivet om hur artister framställs på sina skivomslag med könsstereotyper som utgångspunkt. Syftet med föreliggande studie var därför att analysera och jämföra skivomslag för kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, med vikt på vilka könsstereotyper som förekommer. Syftet var även att se om någon förändring har skett med tiden vad gäller utformningen av skivomslag samt undersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer och genrer. En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna 2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varje år var för kvinnliga respektive manliga artister. Resultatet visade att en del av de könsstereotyper som är vanliga vid fotograferandet av män och kvinnor även förekom på skivomslag. Men på en del punkter frångick omslagen traditionella könsstereotyper. Resultatet visade även att förekomsten av stereotyper har förändrats en del under tioårsperioden. En del skillnader kunde också identifieras vid en jämförelse av amerikanska och svenska artister, samt vid en jämförelse av olika genrer. Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnader i hur manliga och kvinnliga artister porträtteras på sina skivomslag. Men skivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andra sammanhang när män och kvinnor fotograferas.Gender stereotypes exists in all cultures and affects both men and women from an early age. The music industry is not an exception and stereotypes can be seen and heard in everything from lyrics to music videos. However, very little seems to be written about gender stereotypes on album covers. Therefore, the purpose of this study was to analyze and compare how album covers for female and male artists differ, with focus on gender stereotypes. The purpose was also to examine whether a change over time have occurred when it comes to gender stereotypes present on album covers. Additionally, this study examined how gender stereotypes takes form in different cultures and genres. A visual analyze were made on 100 album covers. Half of them were released in 2006/2007 and the other half was released in 2016/2017. The number of male and female artist were equally divided across the different years. The result showed that some of the gender stereotypes that normally occur when males and females are photographed, also occurred on album covers. Other gender stereotypes were uncommon on album covers. Some changes could be seen over the ten-year period. Moreover, the result showed some differences when comparing Swedish and American artists’ album covers, and when comparing different genres. The conclusions that could be drawn from the result was that there are differences in how male and female artists are portrayed on their album covers. However, album cover pictures differ to a certain extent from how males and females are photographed in other situations.
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Oliveira, Cauhana Tafarelo de. "O design gráfico tropicalista e sua repercussão nas capas de disco da década de 1970." Universidade Tecnológica Federal do Paraná, 2014. http://repositorio.utfpr.edu.br/jspui/handle/1/807.
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CAPESA pesquisa buscou investigar o Tropicalismo (1967-1968) e analisar de que forma sua linguagem gráfica repercutiu nas capas de disco de 1969 a 1978, ou seja, nos dez anos seguintes ao término oficial do movimento. A dissertação procurou pensar nas características estéticas e culturais presentes nos projetos gráficos, considerando o contexto histórico desses anos, as propostas da canção tropicalista, tal como as influências entre as sonoridades e visualidades do período. Para isso, foram estudadas as capas de disco do Brasil da segunda metade dos anos de 1960, com ênfase na Tropicália. Foram selecionadas dez capas de discos do período posterior, com o intuito de estabelecer comparações e discutir as principais referências. Foi desenvolvida uma análise visual com base na semiótica peirceana - a partir da proposta de Martine de Joly (2006) - de capas de eixos fonográficos diversos de 1969 a 1978, apontando de que maneira construiu-se um diálogo entre o design tropicalista e as peças selecionadas. A partir disso, foi possível verificar que o Tropicalismo teve significativa importância para a criação e implantação de uma nova linguagem visual no design brasileiro e influenciou, em diferentes aspectos, o desenvolvimento de capas de disco da década posterior.
The research sought to investigate the Tropicalismo (1967-1968) and analyse how its graphic language reflected in the album covers from 1969 to 1978, in other words, in the ten years following the official end of the movement. The dissertation attempted to think about the esthetic and cultural characteristics present in graphic projects, considering the historical context of those years, the proposals of the Tropicália’s songs and the influences between sounds and visualities of period. Thus, the research was studied the album covers of Brazil in the second half of the 1960s, with an emphasis on Tropicália. Ten album covers of the period subsequent were selected, to compare and discuss the main references. It was developed a visual analysis based on Peircean semiotic - from the proposed of Martine Joly (2006) - of album covers of different phonograph axes from 1969 to 1978, pointing how was constructed a dialogue between Tropicalismo’s design and the selected pieces. From this, it was possible to verify that the Tropicalismo had significant importance for the creation and implementation of a new visual language in Brazilian design and influenced, in different aspects, the development of album covers in the next decade.
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Rezende, André Novaes de. "No caminho das pedras brancas : Alex Steinweiss e o processo de fundamentação de um paradigma para o projeto de capas de discos." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284383.
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Orientadores: Edson do Prado Pfützenreuter, Anna Paula Silva GouveiaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: No fim do século XIX, o diálogo entre as artes visuais e a música abriu precedentes para que as artes aplicadas, ou comerciais, incentivassem o consumo do espetáculo musical. Paralelamente, com o desenvolvimento tecnológico da indústria fonográfica, a música passou a ser gravada e comercializada. A comercialização da música gravada, por sua vez, também foi beneficiada por um interesse de explorar-se uma conexão visual com o conteúdo da gravação. Em 1940, este interesse foi diretamente manifestado pelo designer gráfico norte-americano Alex Steinweiss, quando começou a projetar capas de álbuns de discos de 78rpm para a gravadora Columbia Records. Steinweiss não foi o primeiro artista comercial ou designer gráfico a projetar uma capa ilustrada para álbuns de discos de 78rpm mas, ao projetar capas, foi pioneiro na intenção de exercer uma correspondência semântica com o conteúdo musical dos discos. Esta tese tem como grande objetivo o resgate das principais condições históricas e culturais que ajudaram a caracterizar o trabalho de Steinweiss e que possibilitaram fosse ele incorporado com sucesso pela indústria fonográfica. Por meio do levantamento de tais condições e também do próprio método de projeto de Steinweiss, observou-se que seu sucesso proporcionou o estabelecimento de um paradigma, na medida em que as soluções propostas por ele foram, posteriormente, tomadas como modelo e substituíram as regras vigentes para o projeto gráfico das capas dos álbuns de discos
Abstract: By the end of the nineteenth century, the dialog between visual arts and music was a great influence on the applied arts, or commercial arts, in its own task of promoting the music spectacle. Meanwhile, with the technological development of the music industry, music started to be recorded and commercialized. The recorded music business, moved by its own interests, also explored a visual connection with the recorded musical content of their product. In 1940, the early work of the American graphic designer Alex Steinweiss was a consequence of this interest, as he started to design album covers for 78rpm records while working at Columbia Records. Steinweiss was not the first commercial artist or graphic designer to design illustrated album covers for 78rpm records, but he was the first one who expected to achieve semantic correspondence with the musical content of the record. The main goal of this thesis is to retrieve key historical and cultural conditions that influenced Steinweiss' work and allowed him to succeed as a graphic designer inside the recorded music business. By doing so, and by setting up aspects of Steinweiss' design methods, we have come to the conclusion that his success characterized a paradigm. The solutions he offered were taken as models and replaced the rules that determined how an album cover should be designed
Doutorado
Artes Visuais
Doutor em Artes
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Araújo, Luís André Bezerra de. "Sob a moldura da tropicália: canções E capas de discos em relações intersistêmicas." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6255.
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Previous issue date: 2013-03-21Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Tropicalia emerged in late 1967 with the songs ―Alegria, Alegria‖ (Caetano Veloso) and ―Domingo no Parque‖ (Gilberto Gil). But it was in 1968 that the musical movement left his major works recorded. In that year were released records by Tom Zé, Os Mutantes, Caetano Veloso, Gilberto Gil and the collective record Tropicália ou panis et circensis. These albums represented a new moment in the Brazilian Music: opening the explicit cultural dialogues with other countries and with different artistic languages. Our work investigates how was, parallely, turned towards the Brazilian graphic design, from the analysis of the covers of these records, discussing the images with the songs. We started from Luiz Tatit s studies on song and the concept of cultural dialogue according to the Semiotics of Culture.
A Tropicália surgiu no final de 1967, com as canções ―Alegria, alegria‖ (Caetano Veloso) e ―Domingo no parque‖ (Gilberto Gil). Mas foi em 1968 que o movimento musical deixou registrado em disco suas principais obras. Naquele ano foram lançados os discos de Tom Zé, Mutantes, Caetano Veloso, Gilberto Gil e o disco coletivo Tropicália ou panis et circensis. Estes álbuns representaram um novo momento na canção brasileira: da abertura explícita aos diálogos culturais com outros países e com diversas linguagens artísticas. Nosso trabalho investiga como se deu, paralelamente, a virada de rumo no design gráfico brasileiro, a partir da análise das capas destes discos, dialogando as imagens com as canções. Partimos dos estudos de Luiz Tatit sobre canção e do conceito de diálogo cultural segundo a Semiótica da Cultura.
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Jackson, Stephanie. "Music Cover Design in the Digital Age." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin156327401366013.
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Tim, Anna. "Visual weight the importance of cover art in vinyl albums." Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-93059.
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The vinyl album record cover was long one of the primary ways for bands and artists to expose themselves visually. During the 1950's, experimental design was seen particularly in jazz covers, while the early rock music had a more direct and commercial approach to cover design. As rock and popular cultures in the 1960's developed, the record package evolved as an artistic form of expression and visual representation of music. Expressions mainly associated with traditional art was absorbed by popular culture and has had a decisive effect on the current view of the record cover as an art form. In the 1970's, there was an increasing diversification of popular music and a more clear distinction between commercial mainstream music and alternative music, which is reflected in the album covers. During the 1980's, the music video played an important role in how music and the artists were presented visually. New formats as the audio cassette and CD took over the role of the LP on the disc market. During the 1990's when independent labels and artists reached a wider audience, several of their album releases were on vinyl formats. Internet and file sharing of music, has had a significant impact on the music industry in the 2000's and there is a decline in the sales of physical media such as CD's. As a consequence, opportunities for independent operators to spread their music has changed radically. At the same time there is an increasesed interest in the vinyl record as an alternative or a complement to digital music. This increased interest in vinyl albums has largely to do with the visual expression of the album cover in relation to CD's and digital files, as well as with the physical form of the LP and its characteristics as a collector's item.LP-skivans omslag var länge ett av de primära sätten för band och artister att exponera sig visuellt. Experimentell design hos LP-omslag sågs under 1950-talet främst inom jazzmusiken, medan den tidiga rockmusiken hade ett mer direkt och kommersiellt uttryck. I takt med rockens och populärkulturens utveckling under 1960-talet skedde en utveckling av skivomslaget som konstnärligt uttrycksmedel och som visuell representation av musiken. Uttryck som främst setts i traditionella konstsammanhang togs upp av populärkulturen och har haft en avgörande effekt på dagens syn på skivomslaget som konstart. Under 1970-talet skedde en tydligare indelning i kommersiell ”mainstreammusik” och mer alternativ musik. Detta avspeglas också i omslagsdesignen. Under 1980-talet fick musikvideon en viktig roll för hur musik och band presenterades visuellt. Nya format som kassett och CD övertog LP-skivans roll på skivmarknaden. Under 1990-talet nådde alternativa, oberoende bolag och musiker en bredare publik och flera av dessa artister släppte album på vinyl. Internet och fildelning av musik har haft en omfattande inverkan på musikbranschen under 2000-talet och försäljningen av fysiska medier som CD minskar kraftigt. Möjligheterna för oberoende aktörer att nå ut med sin musik har förändrats radikalt. Samtidigt ökar återigen intresset för LP-skivan som alternativ eller komplement till digital musik. Det ökade intresset för LP-skivan har till stor del att göra med skivomslagets möjligheter till konstnärligt uttryck gentemot CD och digitala filer, samt med LP-formatets fysiska form och dess egenskaper som samlarobjekt.
Books on the topic "Album covers"
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1944-, Dean Roger, Howells David 1941-, and Thorgerson Storm 1944-, eds. The Ultimate album cover album. New York: Prentice Hall Press, 1987.
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1944-, Dean Roger, Thorgerson Storm 1944-, and Grierson Nigel 1959-, eds. Album cover album 5. New York: Billboard Books, 1989.
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Boudewijns, Leo. Paul Huf: Record covers. Groningen, The Netherlands: Groninger Museum, 1999.
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Thorgerson, Storm, Roger Dean, and Dominy Hamilton. Album cover album. Zürich: Edition Olms, 2008.
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Aubrey, Powell, ed. 100 best album covers. [Willowdale? Ont.]: Firefly Books, 1999.
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Mukōda, Naoki. Jazzical moods: Artwork of excellent jazz labels. Tokyo: Bijutsu Shuppan-Sha, 1993., 1993.
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Ben, Wardle, ed. The art of the LP: Classic album covers 1955-1995. New York: Sterling, 2010.
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Jütka, Salavetz, ed. Five hundred 45s: A graphic history of the seven-inch record. New York, NY: Collins Design, 2010.
Find full textBook chapters on the topic "Album covers"
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Schedl, Markus, Peter Knees, Tim Pohle, and Gerhard Widmer. "Towards Automatic Retrieval of Album Covers." In Lecture Notes in Computer Science, 531–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11735106_58.
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Richards, Neil. "How can I take inspiration from album covers?" In Questions in Dataviz, 235–46. Boca Raton: A K Peters/CRC Press, 2022. http://dx.doi.org/10.1201/9781003240211-23.
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Morrow, Guy. "Album Cover Design." In Music Business Research, 27–54. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48114-8_3.
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Gayen, Pinaki, Archi Banerjee, Shankha Sanyal, Priyadarshi Patnaik, and Dipak Ghosh. "Influence of Musical Acoustics on Graphic Design: An Exploration with Indian Classical Music Album Cover Design." In Advances in Speech and Music Technology, 379–95. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-18444-4_19.
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"Are JPEGs the New Album Covers?" In Culture Is Not Always Popular. The MIT Press, 2019. http://dx.doi.org/10.7551/mitpress/11955.003.0020.
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Winje, Geir. "CHAPTER 5 The Visual Dylan: Religious Art, Social Semiotics and Album Covers." In A God of Time and Space, 141–61. Cappelen Damm Akademisk/NOASP, 2019. http://dx.doi.org/10.23865/noasp.74.ch5.
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The essay explores the cover art on 24 studio albums released by Bob Dylan since his debut in 1962, each one with a photo of the artist on the front cover. The photos are read chronologically in accordance with a social semiotic understanding. Any text, including such elements as names, album titles, song titles and motifs, but also formal means, e.g. compositions and geometric patterns underlying the compositions, are understood as meaningful utterances in their own right, not only as illustrations for other texts. The essay also maps out some parallels between the idol as a mediated person belonging to modernity and as a premodern religious concept. A not surprising finding is that parts of early Christian icon art are continued in modern photographic portraits. However, I have not found anything indicating that traces of early religious art are more prominent on Bob Dylan’s albums than on other albums.
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Vestergaard, Vitus. "Medieval Media Transformations and Metal Album Covers." In Medievalism and Metal Music Studies: Throwing Down the Gauntlet, 21–34. Emerald Publishing Limited, 2019. http://dx.doi.org/10.1108/978-1-78756-395-720191004.
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Bailey, Trenton. "All ’N All." In Do You Remember?, 59–73. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496843098.003.0005.
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The fourth chapter examines the All ‘N All album and the popular tour that followed. The author begins by analyzing the art related to the album—the first of many album covers illustrated by Shusei Nagaoka. The art combines Kemetic symbols with cosmic and spiritual imagery. Bailey then analyzes the songs on the album, beginning with the ambitious and intellectual “Serpentine Fire.” A deeper discussion of the band’s affinity for illusions and elaborate performances follows, along with the mysticism symbolism the band uses.
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Çalışkan, Özgür. "Imagery of hair and identity in album covers." In Feminist Interrogations of Women’s Head Hair, 191–203. Routledge, 2018. http://dx.doi.org/10.4324/9780429505430-13.
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Fraser, Benjamin. "Blues, Braille, and the Metanarrative of Blindness." In Beyond Sketches of Spain, 109—C4.F2. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197549285.003.0005.
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Abstract Chapter 4 uses disability studies methods to explore Tete Montoliu’s jazz biography and navigation of sighted culture as a person who experienced congenital visual impairment. It draws from the work of Neil Lerner, Joseph Straus, Rod Michalko, Roberto Garvía, and particularly David Bolt to establish the significance of ocularnormativism and the metanarratives of blindness. It discusses Tete’s musical education and explores his musical production with reference to Terry Rowden’s book The Souls of Blind Folk, about blues musicians. The chapter makes the argument that jazz album covers are a visual practice carried out in a sighted culture, constructed around an aural event and mediated by a tactile experience, and it closes with close readings of Montoliu’s album covers.
Conference papers on the topic "Album covers"
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Dieb, Eduardo A. "ALBUM COVERS: DISCOVERING BRAZILIAN LIFE UNDER MILITARY DICTATORSHIP." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-029.
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Margolin, Victor. "American Jazz Album Covers in the 1950s and 1960s." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0024.
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NOVAES DE REZENDE, Andre. "Firebird: Alex Steinweiss’ 78rpm album covers and the letterpress printing process." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-076.
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Ibrahim, Salziana, Raja Iskandar Raja Halid, and Tengku Fauzan Tengku Anuar. "Design Changes Of The Search Group Album Covers From 1985 To 1990." In Proceedings of the 3rd International Conference on Creative Media, Design and Technology (REKA 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/reka-18.2018.61.
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Dorochowicz, Aleksandra, and Bozena Kostek. "Relationship between album cover design and music genres." In 2019 Signal Processing: Algorithms, Architectures, Arrangements, and Applications (SPA). IEEE, 2019. http://dx.doi.org/10.23919/spa.2019.8936738.
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Sun, Kai Hsu, and Yun Lin. "Embracing Difference: Case Study of BoA in Japanese-Korean Pop Music Album Cover Design." In – The Asian Conference on Arts & Humanities 202. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2186-229x.2020.13.
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Gómez, Renzo. "Vertex-disjoint path covers in graphs." In II Encontro de Teoria da Computação. Sociedade Brasileira de Computação - SBC, 2017. http://dx.doi.org/10.5753/etc.2017.3205.
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Seja G um grafo conexo e P um conjunto de caminhos disjuntos nos vértices em G. Dizemos que P é uma cobertura por caminhos se cada vértice de G pertence a algum caminho em P . No problema da cobertura mínima por caminhos, o objetivo é encontrar uma cobertura com o menor número de caminhos. Nesse problema, que é sabido ser NP-difícil, o conjunto P pode conter caminhos triviais. Estudamos uma variante desse problema onde o objetivo é encontrar uma cobertura sem caminhos triviais. Usando a decomposição de Edmonds-Gallai, mostramos que o problema de decidir se um grafo tem tal cobertura pode ser reduzido a um problema de emparelhamento em um grafo bipartido. Além disso, mostramos resultados de inaproximabilidade para ambos os problemas de cobertura: com e sem caminhos triviais.
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Khusainova, I. A. "THE ROLE OF THE IMAGE OF A MAN-FISH ON THE COVER OF THE ALBUM «ICHTHYOLOGY» OF THE BAND «AQUARIUM»." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-134.
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Mashtykov, Kirill, and Elvira Dedova. "GEOECOLOGICAL ASSESSMENT OF PASTURE PHYTOCENOSES IN THE DESERT ZONE OF THE REPUBLIC OF KALMYKIA." In Land Degradation and Desertification: Problems of Sustainable Land Management and Adaptation. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1676.978-5-317-06490-7/62-65.
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Based on long-term monitoring, the geoecological assessment of pasture phytocenoses in the desert zone of the Republic of Kalmykia under the influence of anthropogenic and climatic factors is given. It is established that excessive pasture load leads to degradation processes of vegetation and soil cover: a wide spread of explerents ( Eragrostis minor, Amaranthus albus ), depletion of the floral composition by 2 times, a decrease in productivity and feed value of pastures, an increase in the area of flown Sands.
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Hill, Rodrigo. "Memories and Reveries: photography, memory and diaspora." In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.200.
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This presentation aims to explore the intersection of photography with notions of memory and diaspora as catalysers for the development of a lens-based model of representation connected to affect, cultural perception and nostalgia. I will discuss and present my recent creative practice research project titled Desacoplado: Memórias e Devaneios (Displacement: Memories and Reveries) exhibited at the Auckland Museum as part of Toró: é tudo tanto group exhibition from March to October 2023. The project compiles personal archival imagery produced throughout the last twenty years, marking temporal points that preceded or at times ran in parallel with migration experiences to and in Aotearoa. Drawing on Stuart Hall’s notions on diaspora and Svetlana Boym’s take on nostalgia I constructed a theoretical model to support and inform my creative practice developments. Hall asserted that diaspora is surrounded by a sense of loss and connection while Boym discusses nostalgia as a feeling of loss and displacement. These distinctive concepts and views were useful to understand my own condition as an immigrant in Aotearoa, displaced from my home environment and yet part of an ongoing process of becoming. To address these concepts I started a process of reviewing my photographic archive, looking for imagery that could fit a family album of some kind, ranging from snap-shots, family photographs and archival imagery re-worked through montage, cropping, printing and picture framing strategies. This process covered multiple iterative stages and ways of selecting, compiling, curating and presenting the photographs. These methodological stages were useful to shape a model to address the ways notions of nostalgia and diaspora can be discussed and represented through lens-based and curatorial approaches, positioning photography at core as both practice and research methodology. This led to the compilation of 18 photographs, covering various personal moments and responses to diasporic experiences both in Aotearoa and my home country Brasil. My presentation at the 2023 LINK conference will aim to unpack some of the creative decisions, ideas and processes connected to Desacoplado: Memórias e Devaneios, highlighting the value of photography and creative practice as means to address complex research concepts.
Reports on the topic "Album covers"
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Poloboc, Alina. Josh Tampico. Intellectual Archive, November 2023. http://dx.doi.org/10.32370/iaj.2988.
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Josh Tampico is a painting from the Fancy Collection 2022, portraying a charismatic and creatively charged character with a keen sense of music. This vibrant portrayal depicts the brilliant music composer from Madrid, known for his distinctive blue hair. Having collaborated with numerous internationally renowned singers, Josh Tampico is a noteworthy figure in the music industry. The creation of this artwork is the result of a collaborative artistic project. The strategic use of the color blue by the painter Alina Poloboc in this piece symbolizes strength, trust, and creativity. Notably, the painting of Josh Tampico currently serves as both the logo and the official cover of one of his music albums. This particular painting stands out as one of the artist`s most successful works, of which she takes great pride.